When the authorship hits the fan
Posted by Tom Brown
This week sees the conclusion of the Globe’s acclaimed double-bill of Shakespearean transfers – Richard III and Twelfth Night – at the Apollo Theatre in London’s (possessive obligatory) West End.
It saddens me that I’ve missed them both. Although I was lucky enough to see Tim Carroll’s Twelfth Night, and in particular Mark Rylance’s Olivia, during its first outing at Middle Temple Hall in 2002, I’m especially sorry to have missed Stephen Fry’s Malvolio – a new addition to this most recent revival.
But more than that, I’m sorry not to have been a fly. Specifically, a fly on the wall backstage. Because ever since Stephen Fry’s involvement was revealed, I haven’t been able to shift the thought that he and Mark Rylance – both utterly beloved and deserving of their belovedness – are at diametrically opposing ends of the Shakespeare authorship debate.
Mark Rylance is among the most high-profile disputers of the ‘Stratfordian’ claim, while Stephen Fry contributed a magnificently jaded Audioboo to the Shakespeare Birthplace Trust’s 2011 riposte to Roland Emmerich’s Anonymous. To throw together these two passionate men, not only on stage, not only in Shakespeare, but at Shakespeare’s Globe itself, seemed like holding a flame to a stick of authorship dynamite. That Twelfth Night then transferred into a cooped-up pressure-cooker of a West End theatre only made the decision more intriguing. When exactly would the fireworks kick off?
Well, to the best of my knowledge, they never have, and I wonder if Messrs Fry and Rylance – Frylance? – didn’t agree a temporary cessation of hostilities before entering the comedic cauldron. It may well have been the only way to make it work, especially since Mr Fry’s Stratfordian steward had to endear himself, at all costs, to Mr Rylance’s anti-Stratfordian noblewoman – and such a thing would scarcely have been possible, let alone credible, had each actor been continually airing his authorship laundry backstage. (That said, one might well imagine Mr Rylance, as Olivia, secretly summoning thoughts of Mr Fry’s Stratfordianism to bolster his disdain and disgust at Malvolio’s actions in Act 3, Scene 4.)
Perhaps one day a show insider will lift the lid on a winter of discontent, during which neither actor could stand the sight, let alone the thoughts, of the other. Or perhaps the selfsame whistleblower will instead describe a protracted backstage colloquy, remarkable in its breadth, open-mindedness and intellectual rigour, in which one or other of the men gave crucial ground to the other: Mr Rylance, emerging from the greasepaint-scented shadows a convinced Stratfordian; or Mr Fry, stepping out of stage door a bona fide Baconian, Oxfordian, Marlovian or, erm, collaboratician. With the outside world aware of nothing more than a gentlemanly silence, the bean-spilling possibilities of ‘what really went on’ remain as fantastical as they are unknowable.
Or do they? Well, maybe not. For the gentlemanly silence, if that’s indeed what it is, was suddenly and dramatically breached last Friday evening, when Stephen Fry tweeted the following:
I’d rather have a Jehovah’s Witness at my door than an anti-Stratfordian in my dressing room: “I can prove Shakespeare was Sicilian” Sheesh
— Stephen Fry (@stephenfry) February 1, 2013
Now let us be clear: I have no light to shed on this. And although I’m fairly certain the ‘pro-Sicilian anti-Stratfordian’ in question is not Mr Rylance, my subsequent attempt to elicit any backstage gossip from Mr Fry fell on deaf ears.
Nonetheless, it’s fun – if potentially slanderous – to speculate. What if Mr Rylance is making a daring play, with just a week of the run to go? What if he’s started dispatching advance parties of anti-Stratfordians into Mr Fry’s dressing room, prior to making a more protracted personal assault in the days to come? Could all that pent-up tension, silently accumulated over several months, be about to explode in a sustained-and-very-firm exchange of views? And if so, could this be the week in which two of our greatest luminaries settle this most vexed of issues once and for all – thereby shaping all future discourse on the subject?
Could this be the week when the authorship finally hits the fan?
Well, probably not. But it’s possible. Just about possible.
Posted on February 4, 2013, in Authorship, So Long, Shakespeare and tagged anonymous, apollo theatre, christopher marlowe, earl of oxford, francis bacon, mark rylance, richard iii, roland emmerich, shakespeare, shakespeare birthplace trust, shakespeare's globe, stephen fry, tim carroll, twelfth night, william shakespeare. Bookmark the permalink. Leave a comment.